The Mystery of Macabre: The Greatest Gothic Thrillers

By Gaston Leroux, Alexander Teixeira de Mattos and Edgar Jepson

This carefully crafted ebook: "GOTHIC CRIME MYSTERIES – Premium Collection: The Phantom of the Opera, The Mystery of the Yellow Room, The Secret of the Night, The Man with the Black Feather & Balaoo" is formatted for your eReader with a functional and detailed table of contents. "The Mystery of the Yellow Room" is one of the first locked-room mystery crime fiction novels. It is the first novel starring fictional detective Joseph Rouletabille, and concerns a complex and seemingly impossible crime in which the criminal appears to disappear from a locked room. Leroux provides the reader with detailed, precise diagrams and floorplans illustrating the scene of the crime. The emphasis of the story is firmly on the intellectual challenge to the reader, who will almost certainly be hard pressed to unravel every detail of the situation. "The Phantom of the Opera" is a story inspired by historical events at the Paris Opera during the nineteenth century. Opera singer Christine triumphs at the gala on the night of the old managers' retirement. Her old childhood friend, Raoul, hears her sing and recalls his love for Christine. At this time, there are rumours of a phantom living at the Opera and he makes himself known to the managers through letters and malevolent acts. Sometime after the gala, the Paris Opera performs Faust, with the prima donna Carlotta playing the lead, against the Phantom's wishes. During the performance, Carlotta loses her voice and the grand chandelier plummets into the audience... Other novels included are: The Secret of the Night, The Man with the Black Feather and Balaoo. Gaston Leroux (1868-1927) was a French journalist and author of detective fiction. In the English-speaking world, he is best known for writing the novel The Phantom of the Opera (Le Fantôme de l'Opéra), which has been made into several film and stage productions of the same name.

• Language: English
• Publisher: Sharp Ink
• Release date: Sep 12, 2023
• ISBN: 9788028310967

Gaston Leroux

Gaston Leroux (1868-1927) was a French journalist and writer of detective fiction. Born in Paris, Leroux attended school in Normandy before returning to his home city to complete a degree in law. After squandering his inheritance, he began working as a court reporter and theater critic to avoid bankruptcy. As a journalist, Leroux earned a reputation as a leading international correspondent, particularly for his reporting on the 1905 Russian Revolution. In 1907, Leroux switched careers in order to become a professional fiction writer, focusing predominately on novels that could be turned into film scripts. With such novels as The Mystery of the Yellow Room (1908), Leroux established himself as a leading figure in detective fiction, eventually earning himself the title of Chevalier in the Legion of Honor, France’s highest award for merit. The Phantom of the Opera (1910), his most famous work, has been adapted countless times for theater, television, and film, most notably by Andrew Lloyd Webber in his 1986 musical of the same name.

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Gaston Leroux

The Mystery of Macabre

The Greatest Gothic Thrillers

Sharp Ink Publishing

2023

Contact: [e-mail]

ISBN 978-80-283-1096-7

Table of Contents

The Adventures of Rouletabille:

The Mystery of the Yellow Room

The Secret of the Night

Other novels:

The Man with the Black Feather

The Phantom of the Opera

Balaoo

The Adventures of Rouletabille:

Table of Contents

The Mystery of the Yellow Room

Table of Contents

Chapter 1. In Which We Begin Not to Understand

Chapter 2. In Which Joseph Roultabille Appears for the First Time

Chapter 3. A Man Has Passed Like a Shadow Through the Blinds

Chapter 4. In the Bosom of Wild Nature

Chapter 5. In Which Joseph Rouletabille Makes a Remark to Monsieur Robert Darzac Which Produces Its Little Effect

Chapter 6. In the Heart of the Oak Grove

Chapter 7. In Which Rouletabille Sets Out on an Expedition Under the Bed

Chapter 8. The Examining Magistrate Questions Mademoiselle Stangerson

Chapter 9. Reporter and Detective

Chapter 10. We Shall Have to Eat Red Meat—Now

Chapter 11. In Which Frederic Larsan Explains How the Murderer Was Able to Get Out of The Yellow Room

Chapter 12. Frederic Larsan’s Cane

Chapter 13. The Presbytery Has Lost Nothing of Its Charm, Nor the Garden Its Brightness

Chapter 14. I Expect the Assassin This Evening

Chapter 15. The Trap

Chapter 16. Strange Phenomenon of the Dissociation of Matter

Chapter 17. The Inexplicable Gallery

Chapter 18. Rouletabille Has Drawn a Circle Between the Two Bumps on His Forehead

Chapter 19. Rouletabille Invites Me to Breakfast at the Donjon Inn

Chapter 20. An Act of Mademoiselle Stangerson

Chapter 21. On the Watch

Chapter 22. The Incredible Body

Chapter 23. The Double Scent

Chapter 24. Rouletabille Knows the Two Halves of the Murderer

Chapter 25. Rouletabille Goes on a Journey

Chapter 26. In Which Joseph Rouletabille Is Awaited with Impatience

Chapter 27. In Which Joseph Rouletabille Appears in All His Glory

Chapter 28. In Which It Is Proved That One Does Not Always Think of Everything

Chapter 29. The Mystery of Mademoiselle Stangerson

Chapter 1. In Which We Begin Not to Understand

Table of Contents

It is not without a certain emotion that I begin to recount here the extraordinary adventures of Joseph Rouletabille. Down to the present time he had so firmly opposed my doing it that I had come to despair of ever publishing the most curious of police stories of the past fifteen years. I had even imagined that the public would never know the whole truth of the prodigious case known as that of The Yellow Room, out of which grew so many mysterious, cruel, and sensational dramas, with which my friend was so closely mixed up, if, propos of a recent nomination of the illustrious Stangerson to the grade of grandcross of the Legion of Honour, an evening journal—in an article, miserable for its ignorance, or audacious for its perfidy—had not resuscitated a terrible adventure of which Joseph Rouletabille had told me he wished to be for ever forgotten.

The Yellow Room! Who now remembers this affair which caused so much ink to flow fifteen years ago? Events are so quickly forgotten in Paris. Has not the very name of the Nayves trial and the tragic history of the death of little Menaldo passed out of mind? And yet the public attention was so deeply interested in the details of the trial that the occurrence of a ministerial crisis was completely unnoticed at the time. Now The Yellow Room trial, which, preceded that of the Nayves by some years, made far more noise. The entire world hung for months over this obscure problem—the most obscure, it seems to me, that has ever challenged the perspicacity of our police or taxed the conscience of our judges. The solution of the problem baffled everybody who tried to find it. It was like a dramatic rebus with which old Europe and new America alike became fascinated. That is, in truth—I am permitted to say, because there cannot be any author’s vanity in all this, since I do nothing more than transcribe facts on which an exceptional documentation enables me to throw a new light—that is because, in truth, I do not know that, in the domain of reality or imagination, one can discover or recall to mind anything comparable, in its mystery, with the natural mystery of The Yellow Room.

That which nobody could find out, Joseph Rouletabille, aged eighteen, then a reporter engaged on a leading journal, succeeded in discovering. But when, at the Assize Court, he brought in the key to the whole case, he did not tell the whole truth. He only allowed so much of it to appear as sufficed to ensure the acquittal of an innocent man. The reasons which he had for his reticence no longer exist. Better still, the time has come for my friend to speak out fully. You are going to know all; and, without further preamble, I am going to place before your eyes the problem of The Yellow Room as it was placed before the eyes of the entire world on the day following the enactment of the drama at the Chateau du Glandier.

On the 25th of October, 1892, the following note appeared in the latest edition of the Temps:

A frightful crime has been committed at the Glandier, on the border of the forest of Sainte-Genevieve, above Epinay-sur-Orge, at the house of Professor Stangerson. On that night, while the master was working in his laboratory, an attempt was made to assassinate Mademoiselle Stangerson, who was sleeping in a chamber adjoining this laboratory. The doctors do not answer for the life of Mdlle. Stangerson.

The impression made on Paris by this news may be easily imagined. Already, at that time, the learned world was deeply interested in the labours of Professor Stangerson and his daughter. These labours—the first that were attempted in radiography—served to open the way for Monsieur and Madame Curie to the discovery of radium. It was expected the Professor would shortly read to the Academy of Sciences a sensational paper on his new theory,—the Dissociation of Matter,—a theory destined to overthrow from its base the whole of official science, which based itself on the principle of the Conservation of Energy. On the following day, the newspapers were full of the tragedy. The Matin, among others, published the following article, entitled: A Supernatural Crime:

These are the only details, wrote the anonymous writer in the Matin—"we have been able to obtain concerning the crime of the Chateau du Glandier. The state of despair in which Professor Stangerson is plunged, and the impossibility of getting any information from the lips of the victim, have rendered our investigations and those of justice so difficult that, at present, we cannot form the least idea of what has passed in The Yellow Room in which Mdlle. Stangerson, in her night-dress, was found lying on the floor in the agonies of death. We have, at least, been able to interview Daddy Jacques—as he is called in the country—a old servant in the Stangerson family. Daddy Jacques entered The Room at the same time as the Professor. This chamber adjoins the laboratory. Laboratory and Yellow Room are in a pavilion at the end of the park, about three hundred metres (a thousand feet) from the chateau.

‘It was half-past twelve at night,’ this honest old man told us, ‘and I was in the laboratory, where Monsieur Stangerson was still working, when the thing happened. I had been cleaning and putting instruments in order all the evening and was waiting for Monsieur Stangerson to go to bed. Mademoiselle Stangerson had worked with her father up to midnight; when the twelve strokes of midnight had sounded by the cuckoo-clock in the laboratory, she rose, kissed Monsieur Stangerson and bade him good-night. To me she said bon soir, Daddy Jacques as she passed into The Yellow Room. We heard her lock the door and shoot the bolt, so that I could not help laughing, and said to Monsieur: There’s Mademoiselle double-locking herself in,—she must be afraid of the ‘Bete du bon Dieu!’ Monsieur did not even hear me, he was so deeply absorbed in what he was doing. Just then we heard the distant miawing of a cat. Is that going to keep us awake all night?" I said to myself; for I must tell you, Monsieur, that, to the end of October, I live in an attic of the pavilion over The Yellow Room, so that Mademoiselle should not be left alone through the night in the lonely park. It was the fancy of Mademoiselle to spend the fine weather in the pavilion; no doubt, she found it more cheerful than the chateau and, for the four years it had been built, she had never failed to take up her lodging there in the spring. With the return of winter, Mademoiselle returns to the chateau, for there is no fireplace in The Yellow Room.

‘We were staying in the pavilion, then—Monsieur Stangerson and me. We made no noise. He was seated at his desk. As for me, I was sitting on a chair, having finished my work and, looking at him, I said to myself: What a man!—what intelligence!—what knowledge! I attach importance to the fact that we made no noise; for, because of that, the assassin certainly thought that we had left the place. And, suddenly, while the cuckoo was sounding the half after midnight, a desperate clamour broke out in The Yellow Room. It was the voice of Mademoiselle, crying Murder!—murder!—help! Immediately afterwards revolver shots rang out and there was a great noise of tables and furniture being thrown to the ground, as if in the course of a struggle, and again the voice of Mademoiselle calling, Murder!—help!—Papa!—Papa!—"

‘You may be sure that we quickly sprang up and that Monsieur Stangerson and I threw ourselves upon the door. But alas! it was locked, fast locked, on the inside, by the care of Mademoiselle, as I have told you, with key and bolt. We tried to force it open, but it remained firm. Monsieur Stangerson was like a madman, and truly, it was enough to make him one, for we heard Mademoiselle still calling Help!—help!" Monsieur Stangerson showered terrible blows on the door, and wept with rage and sobbed with despair and helplessness.

‘It was then that I had an inspiration. The assassin must have entered by the window! I cried;—I will go to the window!" and I rushed from the pavilion and ran like one out of his mind.

"‘The inspiration was that the window of The Yellow Room looks out in such a way that the park wall, which abuts on the pavilion, prevented my at once reaching the window. To get up to it one has first to go out of the park. I ran towards the gate and, on my way, met Bernier and his wife, the gate-keepers, who had been attracted by the pistol reports and by our cries. In a few words I told them what had happened, and directed the concierge to join Monsieur Stangerson with all speed, while his wife came with me to open the park gate. Five minutes later she and I were before the window of The Yellow Room.

"‘The moon was shining brightly and I saw clearly that no one had touched the window. Not only were the bars that protect it intact, but the blinds inside of them were drawn, as I had myself drawn them early in the evening, as I did every day, though Mademoiselle, knowing that I was tired from the heavy work I had been doing, had begged me not to trouble myself, but leave her to do it; and they were just as I had left them, fastened with an iron catch on the inside. The assassin, therefore, could not have passed either in or out that way; but neither could I get in.

"‘It was unfortunate,—enough to turn one’s brain! The door of the room locked on the inside and the blinds on the only window also fastened on the inside; and Mademoiselle still calling for help!—No! she had ceased to call. She was dead, perhaps. But I still heard her father, in the pavilion, trying to break down the door.

"‘With the concierge I hurried back to the pavilion. The door, in spite of the furious attempts of Monsieur Stangerson and Bernier to burst it open, was still holding firm; but at length, it gave way before our united efforts,—and then what a sight met our eyes! I should tell you that, behind us, the concierge held the laboratory lamp—a powerful lamp, that lit the whole chamber.

"‘I must also tell you, monsieur, that The Yellow Room is a very small room. Mademoiselle had furnished it with a fairly large iron bedstead, a small table, a night-commode; a dressing-table, and two chairs. By the light of the big lamp we saw all at a glance. Mademoiselle, in her night-dress, was lying on the floor in the midst of the greatest disorder. Tables and chairs had been overthrown, showing that there had been a violent struggle. Mademoiselle had certainly been dragged from her bed. She was covered with blood and had terrible marks of finger-nails on her throat,—the flesh of her neck having been almost torn by the nails. From a wound on the right temple a stream of blood had run down and made a little pool on the floor. When Monsieur Stangerson saw his daughter in that state, he threw himself on his knees beside her, uttering a cry of despair. He ascertained that she still breathed. As to us, we searched for the wretch who had tried to kill our mistress, and I swear to you, monsieur, that, if we had found him, it would have gone hard with him!

"‘But how to explain that he was not there, that he had already escaped? It passes all imagination!—Nobody under the bed, nobody behind the furniture!—All that we discovered were traces, blood-stained marks of a man’s large hand on the walls and on the door; a big handkerchief red with blood, without any initials, an old cap, and many fresh footmarks of a man on the floor,—footmarks of a man with large feet whose boot-soles had left a sort of sooty impression. How had this man got away? How had he vanished? Don’t forget, monsieur, that there is no chimney in The Yellow Room. He could not have escaped by the door, which is narrow, and on the threshold of which the concierge stood with the lamp, while her husband and I searched for him in every corner of the little room, where it is impossible for anyone to hide himself. The door, which had been forced open against the wall, could not conceal anything behind it, as we assured ourselves. By the window, still in every way secured, no flight had been possible. What then?—I began to believe in the Devil.

‘But we discovered my revolver on the floor!—Yes, my revolver! Oh! that brought me back to the reality! The Devil would not have needed to steal my revolver to kill Mademoiselle. The man who had been there had first gone up to my attic and taken my revolver from the drawer where I kept it. We then ascertained, by counting the cartridges, that the assassin had fired two shots. Ah! it was fortunate for me that Monsieur Stangerson was in the laboratory when the affair took place and had seen with his own eyes that I was there with him; for otherwise, with this business of my revolver, I don’t know where we should have been,—I should now be under lock and bar. Justice wants no more to send a man to the scaffold!’

The editor of the Matin added to this interview the following lines:

We have, without interrupting him, allowed Daddy Jacques to recount to us roughly all he knows about the crime of The Yellow Room. We have reproduced it in his own words, only sparing the reader the continual lamentations with which he garnished his narrative. It is quite understood, Daddy Jacques, quite understood, that you are very fond of your masters; and you want them to know it, and never cease repeating it—especially since the discovery of your revolver. It is your right, and we see no harm in it. We should have liked to put some further questions to Daddy Jacques—Jacques—Louis Moustier—but the inquiry of the examining magistrate, which is being carried on at the chateau, makes it impossible for us to gain admission at the Glandier; and, as to the oak wood, it is guarded by a wide circle of policemen, who are jealously watching all traces that can lead to the pavilion, and that may perhaps lead to the discovery of the assassin. We have also wished to question the concierges, but they are invisible. Finally, we have waited in a roadside inn, not far from the gate of the chateau, for the departure of Monsieur de Marquet, the magistrate of Corbeil. At half-past five we saw him and his clerk and, before he was able to enter his carriage, had an opportunity to ask him the following question:

"‘Can you, Monsieur de Marquet, give us any information as to this affair, without inconvenience to the course of your inquiry?’

"‘It is impossible for us to do it,’ replied Monsieur de Marquet. ‘I can only say that it is the strangest affair I have ever known. The more we think we know something, the further we are from knowing anything!’

"We asked Monsieur de Marquet to be good enough to explain his last words; and this is what he said,—the importance of which no one will fail to recognise:

‘If nothing is added to the material facts so far established, I fear that the mystery which surrounds the abominable crime of which Mademoiselle Stangerson has been the victim will never be brought to light; but it is to be hoped, for the sake of our human reason, that the examination of the walls, and of the ceiling of The Yellow Room—an examination which I shall to-morrow intrust to the builder who constructed the pavilion four years ago—will afford us the proof that may not discourage us. For the problem is this: we know by what way the assassin gained admission,—he entered by the door and hid himself under the bed, awaiting Mademoiselle Stangerson. But how did he leave? How did he escape? If no trap, no secret door, no hiding place, no opening of any sort is found; if the examination of the walls—even to the demolition of the pavilion—does not reveal any passage practicable—not only for a human being, but for any being whatsoever—if the ceiling shows no crack, if the floor hides no underground passage, one must really believe in the Devil, as Daddy Jacques says!’

And the anonymous writer in the Matin added in this article—which I have selected as the most interesting of all those that were published on the subject of this affair—that the examining magistrate appeared to place a peculiar significance to the last sentence: One must really believe in the Devil, as Jacques says.

The article concluded with these lines: We wanted to know what Daddy Jacques meant by the cry of the Bete Du Bon Dieu. The landlord of the Donjon Inn explained to us that it is the particularly sinister cry which is uttered sometimes at night by the cat of an old woman,—Mother Angenoux, as she is called in the country. Mother Angenoux is a sort of saint, who lives in a hut in the heart of the forest, not far from the grotto of Sainte-Genevieve.

The Yellow Room, the Bete Du Bon Dieu, Mother Angenoux, the Devil, Sainte-Genevieve, Daddy Jacques,—here is a well entangled crime which the stroke of a pickaxe in the wall may disentangle for us to-morrow. Let us at least hope that, for the sake of our human reason, as the examining magistrate says. Meanwhile, it is expected that Mademoiselle Stangerson—who has not ceased to be delirious and only pronounces one word distinctly, ‘Murderer! Murderer!’—will not live through the night.

In conclusion, and at a late hour, the same journal announced that the Chief of the Surete had telegraphed to the famous detective, Frederic Larsan, who had been sent to London for an affair of stolen securities, to return immediately to Paris.

Chapter 2. In Which Joseph Roultabille Appears for the First Time

Table of Contents

I remember as well as if it had occurred yesterday, the entry of young Rouletabille into my bedroom that morning. It was about eight o’clock and I was still in bed reading the article in the Matin relative to the Glandier crime.

But, before going further, it is time that I present my friend to the reader.

I first knew Joseph Rouletabille when he was a young reporter. At that time I was a beginner at the Bar and often met him in the corridors of examining magistrates, when I had gone to get a permit to communicate for the prison of Mazas, or for Saint-Lazare. He had, as they say, a good nut. He seemed to have taken his head—round as a bullet—out of a box of marbles, and it is from that, I think, that his comrades of the press—all determined billiard-players—had given him that nickname, which was to stick to him and be made illustrious by him. He was always as red as a tomato, now gay as a lark, now grave as a judge. How, while still so young—he was only sixteen and a half years old when I saw him for the first time—had he already won his way on the press? That was what everybody who came into contact with him might have asked, if they had not known his history. At the time of the affair of the woman cut in pieces in the Rue Oberskampf—another forgotten story—he had taken to one of the editors of the Epoque,—a paper then rivalling the Matin for information,—the left foot, which was missing from the basket in which the gruesome remains were discovered. For this left foot the police had been vainly searching for a week, and young Rouletabille had found it in a drain where nobody had thought of looking for it. To do that he had dressed himself as an extra sewer-man, one of a number engaged by the administration of the city of Paris, owing to an overflow of the Seine.

When the editor-in-chief was in possession of the precious foot and informed as to the train of intelligent deductions the boy had been led to make, he was divided between the admiration he felt for such detective cunning in a brain of a lad of sixteen years, and delight at being able to exhibit, in the morgue window of his paper, the left foot of the Rue Oberskampf.

This foot, he cried, will make a great headline.

Then, when he had confided the gruesome packet to the medical lawyer attached to the journal, he asked the lad, who was shortly to become famous as Rouletabille, what he would expect to earn as a general reporter on the Epoque?

Two hundred francs a month, the youngster replied modestly, hardly able to breathe from surprise at the proposal.

You shall have two hundred and fifty, said the editor-in-chief; only you must tell everybody that you have been engaged on the paper for a month. Let it be quite understood that it was not you but the ‘Epoque’ that discovered the left foot of the Rue Oberskampf. Here, my young friend, the man is nothing, the paper everything.

Having said this, he begged the new reporter to retire, but before the youth had reached the door he called him back to ask his name. The other replied:

Joseph Josephine.

That’s not a name, said the editor-in-chief, but since you will not be required to sign what you write it is of no consequence.

The boy-faced reporter speedily made himself many friends, for he was serviceable and gifted with a good humour that enchanted the most severe-tempered and disarmed the most zealous of his companions. At the Bar cafe, where the reporters assembled before going to any of the courts, or to the Prefecture, in search of their news of crime, he began to win a reputation as an unraveller of intricate and obscure affairs which found its way to the office of the Chief of the Surete. When a case was worth the trouble and Rouletabille—he had already been given his nickname—had been started on the scent by his editor-in-chief, he often got the better of the most famous detective.

It was at the Bar cafe that I became intimately acquainted with him. Criminal lawyers and journalists are not enemies, the former need advertisement, the latter information. We chatted together, and I soon warmed towards him. His intelligence was so keen, and so original!—and he had a quality of thought such as I have never found in any other person.

Some time after this I was put in charge of the law news of the Cri du Boulevard. My entry into journalism could not but strengthen the ties which united me to Rouletabille. After a while, my new friend being allowed to carry out an idea of a judicial correspondence column, which he was allowed to sign Business, in the Epoque, I was often able to furnish him with the legal information of which he stood in need.

Nearly two years passed in this way, and the better I knew him, the more I learned to love him; for, in spite of his careless extravagance, I had discovered in him what was, considering his age, an extraordinary seriousness of mind. Accustomed as I was to seeing him gay and, indeed, often too gay, I would many times find him plunged in the deepest melancholy. I tried then to question him as to the cause of this change of humour, but each time he laughed and made me no answer. One day, having questioned him about his parents, of whom he never spoke, he left me, pretending not to have heard what I said.

While things were in this state between us, the famous case of The Yellow Room took place. It was this case which was to rank him as the leading newspaper reporter, and to obtain for him the reputation of being the greatest detective in the world. It should not surprise us to find in the one man the perfection of two such lines of activity if we remember that the daily press was already beginning to transform itself and to become what it is to-day—the gazette of crime.

Morose-minded people may complain of this; for myself I regard it a matter for congratulation. We can never have too many arms, public or private, against the criminal. To this some people may answer that, by continually publishing the details of crimes, the press ends by encouraging their commission. But then, with some people we can never do right. Rouletabille, as I have said, entered my room that morning of the 26th of October, 1892. He was looking redder than usual, and his eyes were bulging out of his head, as the phrase is, and altogether he appeared to be in a state of extreme excitement. He waved the Matin with a trembling hand, and cried:

Well, my dear Sainclair,—have you read it?

The Glandier crime?

Yes; The Yellow Room!—What do you think of it?

I think that it must have been the Devil or the Bete du Bon Dieu that committed the crime.

Be serious!

Well, I don’t much believe in murderers* who make their escape through walls of solid brick. I think Daddy Jacques did wrong to leave behind him the weapon with which the crime was committed and, as he occupied the attic immediately above Mademoiselle Stangerson’s room, the builder’s job ordered by the examining magistrate will give us the key of the enigma and it will not be long before we learn by what natural trap, or by what secret door, the old fellow was able to slip in and out, and return immediately to the laboratory to Monsieur Stangerson, without his absence being noticed. That, of course, is only an hypothesis.

* Although the original English translation often uses the words murder and murderer, the reader may substitute attack and attacker since no murder is actually committed.

Rouletabille sat down in an armchair, lit his pipe, which he was never without, smoked for a few minutes in silence—no doubt to calm the excitement which, visibly, dominated him—and then replied:

Young man, he said, in a tone the sad irony of which I will not attempt to render, young man, you are a lawyer and I doubt not your ability to save the guilty from conviction; but if you were a magistrate on the bench, how easy it would be for you to condemn innocent persons!—You are really gifted, young man!

He continued to smoke energetically, and then went on:

No trap will be found, and the mystery of The Yellow Room will become more and more mysterious. That’s why it interests me. The examining magistrate is right; nothing stranger than this crime has ever been known.

Have you any idea of the way by which the murderer escaped? I asked.

None, replied Rouletabille—none, for the present. But I have an idea as to the revolver; the murderer did not use it.

Good Heavens! By whom, then, was it used?

Why—by Mademoiselle Stangerson.

I don’t understand,—or rather, I have never understood, I said.

Rouletabille shrugged his shoulders.

Is there nothing in this article in the ‘Matin’ by which you were particularly struck?

Nothing,—I have found the whole of the story it tells equally strange.

Well, but—the locked door—with the key on the inside?

That’s the only perfectly natural thing in the whole article.

Really!—And the bolt?

The bolt?

Yes, the bolt—also inside the room—a still further protection against entry? Mademoiselle Stangerson took quite extraordinary precautions! It is clear to me that she feared someone. That was why she took such precautions—even Daddy Jacques’s revolver—without telling him of it. No doubt she didn’t wish to alarm anybody, and least of all, her father. What she dreaded took place, and she defended herself. There was a struggle, and she used the revolver skilfully enough to wound the assassin in the hand—which explains the impression on the wall and on the door of the large, blood-stained hand of the man who was searching for a means of exit from the chamber. But she didn’t fire soon enough to avoid the terrible blow on the right temple.

Then the wound on the temple was not done with the revolver?

The paper doesn’t say it was, and I don’t think it was; because logically it appears to me that the revolver was used by Mademoiselle Stangerson against the assassin. Now, what weapon did the murderer use? The blow on the temple seems to show that the murderer wished to stun Mademoiselle Stangerson,—after he had unsuccessfully tried to strangle her. He must have known that the attic was inhabited by Daddy Jacques, and that was one of the reasons, I think, why he must have used a quiet weapon,—a life-preserver, or a hammer.

All that doesn’t explain how the murderer got out of The Yellow Room, I observed.

Evidently, replied Rouletabille, rising, and that is what has to be explained. I am going to the Chateau du Glandier, and have come to see whether you will go with me.

I?—

Yes, my boy. I want you. The ‘Epoque’ has definitely entrusted this case to me, and I must clear it up as quickly as possible.

But in what way can I be of any use to you?

Monsieur Robert Darzac is at the Chateau du Glandier.

That’s true. His despair must be boundless.

I must have a talk with him.

Rouletabille said it in a tone that surprised me.

Is it because—you think there is something to be got out of him? I asked.

Yes.

That was all he would say. He retired to my sitting-room, begging me to dress quickly.

I knew Monsieur Robert Darzac from having been of great service to him in a civil action, while I was acting as secretary to Maitre Barbet Delatour. Monsieur Robert Darzac, who was at that time about forty years of age, was a professor of physics at the Sorbonne. He was intimately acquainted with the Stangersons, and, after an assiduous seven years’ courtship of the daughter, had been on the point of marrying her. In spite of the fact that she has become, as the phrase goes, a person of a certain age, she was still remarkably good-looking. While I was dressing I called out to Rouletabille, who was impatiently moving about my sitting-room:

Have you any idea as to the murderer’s station in life?

Yes, he replied; I think if he isn’t a man in society, he is, at least, a man belonging to the upper class. But that, again, is only an impression.

What has led you to form it?

Well,—the greasy cap, the common handkerchief, and the marks of the rough boots on the floor, he replied.

I understand, I said; murderers don’t leave traces behind them which tell the truth.

We shall make something out of you yet, my dear Sainclair, concluded Rouletabille.

Chapter 3. A Man Has Passed Like a Shadow Through the Blinds

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Half an hour later Rouletabille and I were on the platform of the Orleans station, awaiting the departure of the train which was to take us to Epinay-sur-Orge.

On the platform we found Monsieur de Marquet and his Registrar, who represented the Judicial Court of Corbeil. Monsieur Marquet had spent the night in Paris, attending the final rehearsal, at the Scala, of a little play of which he was the unknown author, signing himself simply Castigat Ridendo.

Monsieur de Marquet was beginning to be a noble old gentleman. Generally he was extremely polite and full of gay humour, and in all his life had had but one passion,—that of dramatic art. Throughout his magisterial career he was interested solely in cases capable of furnishing him with something in the nature of a drama. Though he might very well have aspired to the highest judicial positions, he had never really worked for anything but to win a success at the romantic Porte-Saint-Martin, or at the sombre Odeon.

Because of the mystery which shrouded it, the case of The Yellow Room was certain to fascinate so theatrical a mind. It interested him enormously, and he threw himself into it, less as a magistrate eager to know the truth, than as an amateur of dramatic embroglios, tending wholly to mystery and intrigue, who dreads nothing so much as the explanatory final act.

So that, at the moment of meeting him, I heard Monsieur de Marquet say to the Registrar with a sigh:

I hope, my dear Monsieur Maleine, this builder with his pickaxe will not destroy so fine a mystery.

Have no fear, replied Monsieur Maleine, his pickaxe may demolish the pavilion, perhaps, but it will leave our case intact. I have sounded the walls and examined the ceiling and floor and I know all about it. I am not to be deceived.

Having thus reassured his chief, Monsieur Maleine, with a discreet movement of the head, drew Monsieur de Marquet’s attention to us. The face of that gentleman clouded, and, as he saw Rouletabille approaching, hat in hand, he sprang into one of the empty carriages saying, half aloud to his Registrar, as he did so, Above all, no journalists!

Monsieur Maleine replied in the same tone, I understand! and then tried to prevent Rouletabille from entering the same compartment with the examining magistrate.

Excuse me, gentlemen,—this compartment is reserved.

I am a journalist, Monsieur, engaged on the ‘Epoque,’ said my young friend with a great show of gesture and politeness, and I have a word or two to say to Monsieur de Marquet.

Monsieur is very much engaged with the inquiry he has in hand.

Ah! his inquiry, pray believe me, is absolutely a matter of indifference to me. I am no scavenger of odds and ends, he went on, with infinite contempt in his lower lip, I am a theatrical reporter; and this evening I shall have to give a little account of the play at the Scala.

Get in, sir, please, said the Registrar.

Rouletabille was already in the compartment. I went in after him and seated myself by his side. The Registrar followed and closed the carriage door.

Monsieur de Marquet looked at him.

Ah, sir, Rouletabille began, You must not be angry with Monsieur de Maleine. It is not with Monsieur de Marquet that I desire to have the honour of speaking, but with Monsieur ‘Castigat Ridendo.’ Permit me to congratulate you—personally, as well as the writer for the ‘Epoque.’ And Rouletabille, having first introduced me, introduced himself.

Monsieur de Marquet, with a nervous gesture, caressed his beard into a point, and explained to Rouletabille, in a few words, that he was too modest an author to desire that the veil of his pseudonym should be publicly raised, and that he hoped the enthusiasm of the journalist for the dramatist’s work would not lead him to tell the public that Monsieur Castigat Ridendo and the examining magistrate of Corbeil were one and the same person.

The work of the dramatic author may interfere, he said, after a slight hesitation, with that of the magistrate, especially in a province where one’s labours are little more than routine.

Oh, you may rely on my discretion! cried Rouletabille.

The train was in motion.

We have started! said the examining magistrate, surprised at seeing us still in the carriage.

Yes, Monsieur,—truth has started, said Rouletabile, smiling amiably,—on its way to the Chateau du Glandier. A fine case, Monsieur de Marquet,—a fine case!

An obscure—incredible, unfathomable, inexplicable affair—and there is only one thing I fear, Monsieur Rouletabille,—that the journalists will be trying to explain it.

My friend felt this a rap on his knuckles.

Yes, he said simply, that is to be feared. They meddle in everything. As for my interest, monsieur, I only referred to it by mere chance,—the mere chance of finding myself in the same train with you, and in the same compartment of the same carriage.

Where are you going, then? asked Monsieur de Marquet.

To the Chateau du Glandier, replied Rouletabille, without turning.

You’ll not get in, Monsieur Rouletabille!

Will you prevent me? said my friend, already prepared to fight.

Not I!—I like the press and journalists too well to be in any way disagreeable to them; but Monsieur Stangerson has given orders for his door to be closed against everybody, and it is well guarded. Not a journalist was able to pass through the gate of the Glandier yesterday.

Monsieur de Marquet compressed his lips and seemed ready to relapse into obstinate silence. He only relaxed a little when Rouletabille no longer left him in ignorance of the fact that we were going to the Glandier for the purpose of shaking hands with an old and intimate friend, Monsieur Robert Darzac—a man whom Rouletabille had perhaps seen once in his life.

Poor Robert! continued the young reporter, this dreadful affair may be his death,—he is so deeply in love with Mademoiselle Stangerson.

His sufferings are truly painful to witness, escaped like a regret from the lips of Monsieur de Marquet.

But it is to be hoped that Mademoiselle Stangerson’s life will be saved.

Let us hope so. Her father told me yesterday that, if she does not recover, it will not be long before he joins her in the grave. What an incalculable loss to science his death would be!

The wound on her temple is serious, is it not?

Evidently; but, by a wonderful chance, it has not proved mortal. The blow was given with great force.

Then it was not with the revolver she was wounded, said Rouletabille, glancing at me in triumph.

Monsieur de Marquet appeared greatly embarrassed.

I didn’t say anything—I don’t want to say anything—I will not say anything, he said. And he turned towards his Registrar as if he no longer knew us.

But Rouletabille was not to be so easily shaken off. He moved nearer to the examining magistrate and, drawing a copy of the Matin from his pocket, he showed it to him and said:

There is one thing, Monsieur, which I may enquire of you without committing an indiscretion. You have, of course, seen the account given in the ‘Matin’? It is absurd, is it not?

Not in the slightest, Monsieur.

What! The Yellow Room has but one barred window—the bars of which have not been moved—and only one door, which had to be broken open—and the assassin was not found!

That’s so, monsieur,—that’s so. That’s how the matter stands.

Rouletabille said no more but plunged into thought. A quarter of an hour thus passed.

Coming back to himself again he said, addressing the magistrate:

How did Mademoiselle Stangerson wear her hair on that evening?

I don’t know, replied Monsieur de Marquet.

That’s a very important point, said Rouletabille. Her hair was done up in bands, wasn’t it? I feel sure that on that evening, the evening of the crime, she had her hair arranged in bands.

Then you are mistaken, Monsieur Rouletabille, replied the magistrate; Mademoiselle Stangerson that evening had her hair drawn up in a knot on the top of her head,—her usual way of arranging it—her forehead completely uncovered. I can assure you, for we have carefully examined the wound. There was no blood on the hair, and the arrangement of it has not been disturbed since the crime was committed.

You are sure! You are sure that, on the night of the crime, she had not her hair in bands?

Quite sure, the magistrate continued, smiling, because I remember the Doctor saying to me, while he was examining the wound, ‘It is a great pity Mademoiselle Stangerson was in the habit of drawing her hair back from her forehead. If she had worn it in bands, the blow she received on the temple would have been weakened.’ It seems strange to me that you should attach so much importance to this point.

Oh! if she had not her hair in bands, I give it up, said Rouletabille, with a despairing gesture.

And was the wound on her temple a bad one? he asked presently.

Terrible.

With what weapon was it made?

That is a secret of the investigation.

Have you found the weapon—whatever it was?

The magistrate did not answer.

And the wound in the throat?

Here the examining magistrate readily confirmed the decision of the doctor that, if the murderer had pressed her throat a few seconds longer, Mademoiselle Stangerson would have died of strangulation.

The affair as reported in the ‘Matin,’ said Rouletabille eagerly, seems to me more and more inexplicable. Can you tell me, Monsieur, how many openings there are in the pavilion? I mean doors and windows.

There are five, replied Monsieur de Marquet, after having coughed once or twice, but no longer resisting the desire he felt to talk of the whole of the incredible mystery of the affair he was investigating. There are five, of which the door of the vestibule is the only entrance to the pavilion,—a door always automatically closed, which cannot be opened, either from the outer or inside, except with the two special keys which are never out of the possession of either Daddy Jacques or Monsieur Stangerson. Mademoiselle Stangerson had no need for one, since Daddy Jacques lodged in the pavilion and because, during the daytime, she never left her father. When they, all four, rushed into The Yellow Room, after breaking open the door of the laboratory, the door in the vestibule remained closed as usual and, of the two keys for opening it, Daddy Jacques had one in his pocket, and Monsieur Stangerson the other. As to the windows of the pavilion, there are four; the one window of The Yellow Room and those of the laboratory looking out on to the country; the window in the vestibule looking into the park.

It is by that window that he escaped from the pavilion! cried Rouletabille.

How do you know that? demanded Monsieur de Marquet, fixing a strange look on my young friend.

We’ll see later how he got away from The Yellow Room, replied Rouletabille, but he must have left the pavilion by the vestibule window.

Once more,—how do you know that?

How? Oh, the thing is simple enough! As soon as he found he could not escape by the door of the pavilion his only way out was by the window in the vestibule, unless he could pass through a grated window. The window of The Yellow Room is secured by iron bars, because it looks out upon the open country; the two windows of the laboratory have to be protected in like manner for the same reason. As the murderer got away, I conceive that he found a window that was not barred,—that of the vestibule, which opens on to the park,—that is to say, into the interior of the estate. There’s not much magic in all that.

Yes, said Monsieur de Marquet, but what you have not guessed is that this single window in the vestibule, though it has no iron bars, has solid iron blinds. Now these iron blinds have remained fastened by their iron latch; and yet we have proof that the murderer made his escape from the pavilion by that window! Traces of blood on the inside wall and on the blinds as well as on the floor, and footmarks, of which I have taken the measurements, attest the fact that the murderer made his escape that way. But then, how did he do it, seeing that the blinds remained fastened on the inside? He passed through them like a shadow. But what is more bewildering than all is that it is impossible to form any idea as to how the murderer got out of The Yellow Room, or how he got across the laboratory to reach the vestibule! Ah, yes, Monsieur Rouletabille, it is altogether as you said, a fine case, the key to which will not be discovered for a long time, I hope.

You hope, Monsieur?

Monsieur de Marquet corrected himself.

I do not hope so,—I think so.

Could that window have been closed and refastened after the flight of the assassin? asked Rouletabille.

That is what occurred to me for a moment; but it would imply an accomplice or accomplices,—and I don’t see—

After a short silence he added:

Ah—if Mademoiselle Stangerson were only well enough to-day to be questioned!

Rouletabille following up his thought, asked:

And the attic?—There must be some opening to that?

Yes; there is a window, or rather skylight, in it, which, as it looks out towards the country, Monsieur Stangerson has had barred, like the rest of the windows. These bars, as in the other windows, have remained intact, and the blinds, which naturally open inwards, have not been unfastened. For the rest, we have not discovered anything to lead us to suspect that the murderer had passed through the attic.

It seems clear to you, then, Monsieur, that the murderer escaped—nobody knows how—by the window in the vestibule?

Everything goes to prove it.

I think so, too, confessed Rouletabille gravely.

After a brief silence, he continued:

If you have not found any traces of the murderer in the attic, such as the dirty footmarks similar to those on the floor of The Yellow Room, you must come to the conclusion that it was not he who stole Daddy Jacques’s revolver.

There are no footmarks in the attic other than those of Daddy Jacques himself, said the magistrate with a significant turn of his head. Then, after an apparent decision, he added: Daddy Jacques was with Monsieur Stangerson in the laboratory—and it was lucky for him he was.

Then what part did his revolver play in the tragedy?—It seems very clear that this weapon did less harm to Mademoiselle Stangerson than it did to the murderer.

The magistrate made no reply to this question, which doubtless embarrassed him. Monsieur Stangerson, he said, tells us that the two bullets have been found in The Yellow Room, one embedded in the wall stained with the impression of a red hand—a man’s large hand—and the other in the ceiling.

Oh! oh! in the ceiling! muttered Rouletabille. In the ceiling! That’s very curious!—In the ceiling!

He puffed awhile in silence at his pipe, enveloping himself in the smoke. When we reached Savigny-sur-Orge, I had to tap him on the shoulder to arouse him from his dream and come out on to the platform of the station.

There, the magistrate and his Registrar bowed to us, and by rapidly getting into a cab that was awaiting them, made us understand that they had seen enough of us.

How long will it take to walk to the Chateau du Glandier? Rouletabille asked one of the railway porters.

An hour and a half or an hour and three quarters—easy walking, the man replied.

Rouletabille looked up at the sky and, no doubt, finding its appearance satisfactory, took my arm and said:

Come on!—I need a walk.

Are things getting less entangled? I asked.

Not a bit of it! he said, more entangled than ever! It’s true, I have an idea—

What’s that? I asked.

I can’t tell you what it is just at present—it’s an idea involving the life or death of two persons at least.

Do you think there were accomplices?

I don’t think it—

We fell into silence. Presently he went on:

It was a bit of luck, our falling in with that examining magistrate and his Registrar, eh? What did I tell you about that revolver? His head was bent down, he had his hands in his pockets, and he was whistling. After a while I heard him murmur:

Poor woman!

Is it Mademoiselle Stangerson you are pitying?

Yes; she’s a noble woman and worthy of being pitied!—a woman of a great, a very great character—I imagine—I imagine.

You know her then?

Not at all. I have never seen her.

Why, then, do you say that she is a woman of great character?

Because she bravely faced the murderer; because she courageously defended herself—and, above all, because of the bullet in the ceiling.

I looked at Rouletabille and inwardly wondered whether he was not mocking me, or whether he had not suddenly gone out of his senses. But I saw that he had never been less inclined to laugh, and the brightness of his keenly intelligent eyes assured me that he retained all his reason. Then, too, I was used to his broken way of talking, which only left me puzzled as to his meaning, till, with a very few clear, rapidly uttered words, he would make the drift of his ideas clear to me, and I saw that what he had previously said, and which had appeared to me void of meaning, was so thoroughly logical that I could not understand how it was I had not understood him sooner.

Chapter 4. In the Bosom of Wild Nature

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The Chateau du Glandier is one of the oldest chateaux in the Ile de France, where so many building remains of the feudal period are still standing. Built originally in the heart of the forest, in the reign of Philip le Bel, it now could be seen a few hundred yards from the road leading from the village of Sainte-Genevieve to Monthery. A mass of inharmonious structures, it is dominated by a donjon. When the visitor has mounted the crumbling steps of this ancient donjon, he reaches a little plateau where, in the seventeenth century, Georges Philibert de Sequigny, Lord of the Glandier, Maisons-Neuves and other places, built the existing town in an abominably rococo style of architecture.

It was in this place, seemingly belonging entirely to the past, that Professor Stangerson and his daughter installed themselves to lay the foundations for the science of the future. Its solitude, in the depths of woods, was what, more than all, had pleased them. They would have none to witness their labours and intrude on their hopes, but the aged stones and grand old oaks. The Glandier—ancient Glandierum—was so called from the quantity of glands (acorns) which, in all times, had been gathered in that neighbourhood. This land, of present mournful interest, had fallen back, owing to the negligence or abandonment of its owners, into the wild character of primitive nature. The buildings alone, which were hidden there, had preserved traces of their strange metamorphoses. Every age had left on them its imprint; a bit of architecture with which was bound up the remembrance of some terrible event, some bloody adventure. Such was the chateau in which science had taken refuge—a place seemingly designed to be the theatre of mysteries, terror, and death.

Having explained so far, I cannot refrain from making one further reflection. If I have lingered a little over this description of the Glandier, it is not because I have reached the right moment for creating the necessary atmosphere for the unfolding of the tragedy before the eyes of the reader. Indeed, in all this matter, my first care will be to be as simple as is possible. I have no ambition to be an author. An author is always something of a romancer, and God knows, the mystery of The Yellow Room is quite full enough of real tragic horror to require no aid from literary effects. I am, and only desire to be, a faithful reporter. My duty is to report the event; and I place the event in its frame—that is all. It is only natural that you should know where the things happened.

I return to Monsieur Stangerson. When he bought the estate, fifteen years before the tragedy with which we are engaged occurred, the Chateau du Glandier had for a long time been unoccupied. Another old chateau in the neighbourhood, built in the fourteenth century by Jean de Belmont, was also abandoned, so that that part of the country was very little inhabited. Some small houses on the side of the road leading to Corbeil, an inn, called the Auberge du Donjon, which offered passing hospitality to waggoners; these were about all to represent civilisation in this out-of-the-way part of the country, but a few leagues from the capital.

But this deserted condition of the place had been the determining reason for the choice made by Monsieur Stangerson and his daughter. Monsieur Stangerson was already celebrated. He had returned from America, where his works had made a great stir. The book which he had published at Philadelphia, on the Dissociation of Matter by Electric Action, had aroused opposition throughout the whole scientific world. Monsieur Stangerson was a Frenchman, but of American origin. Important matters relating to a legacy had kept him for several years in the United States, where he had continued the work begun by him in France, whither he had returned in possession of a large fortune. This fortune was a great boon to him; for, though he might have made millions of dollars by exploiting two or three of his chemical discoveries relative to new processes of dyeing, it was always repugnant to him to use for his own private gain the wonderful gift of invention he had received from nature. He considered he owed it to mankind, and all that his genius brought into the world went, by this philosophical view of his duty, into the public lap.

If he did not try to conceal his satisfaction at coming into possession of this fortune, which enabled him to give himself up to his passion for pure science, he had equally to rejoice, it seemed to him, for another cause. Mademoiselle Stangerson was, at the time when her father returned from America and bought the Glandier estate, twenty years of age. She was exceedingly pretty, having at once the Parisian grace of her mother, who had died in giving her birth, and all the splendour, all the riches of the young American blood of her parental grandfather, William Stangerson. A citizen of Philadelphia, William Stangerson had been obliged to become naturalised in obedience to family exigencies at the time of his marriage with a French lady, she who was to be the mother of the illustrious Stangerson. In that way the professor’s French nationality is accounted for.

Twenty years of age, a charming blonde, with blue eyes, milk-white complexion, and radiant with divine health, Mathilde Stangerson was one of the most beautiful marriageable girls in either the old or the new world. It was her father’s duty, in spite of the inevitable pain which a separation from her would cause him, to think of her marriage; and he was fully prepared for it. Nevertheless, he buried himself and his child at the Glandier at the moment when his friends were expecting him to bring her out into society. Some of them expressed their astonishment, and to their questions he answered: It is my daughter’s wish. I can refuse her nothing. She has chosen the Glandier.

Interrogated in her turn, the young girl replied calmly: Where could we work better than in this solitude? For Mademoiselle Stangerson had already begun to collaborate with her father in his work. It could not at the time be imagined that her passion for science would lead her so far as to refuse all the suitors who presented themselves to her for over fifteen years. So secluded was the life led by the two, father and daughter, that they showed themselves only at a few official receptions and, at certain times in the year, in two or three friendly drawing-rooms, where the fame of the professor and the beauty of Mathilde made a sensation. The young girl’s extreme reserve did not at first discourage suitors; but at the end of a few years, they tired of their quest.

One alone persisted with tender tenacity and deserved the name of eternal fiance, a name he accepted with melancholy resignation; that was Monsieur Robert Darzac. Mademoiselle Stangerson was now no longer young, and it seemed that, having found no reason for marrying at five-and-thirty, she would never find one. But such an argument evidently found no acceptance with Monsieur Robert Darzac. He continued to pay his court—if the delicate and tender attention with which he ceaselessly surrounded this woman of five-and-thirty could be called courtship—in face of her declared intention never to marry.

Suddenly, some weeks before the events with which we are occupied, a report—to which nobody attached any importance, so incredible did it sound—was spread about Paris, that Mademoiselle Stangerson had at last consented to crown the inextinguishable flame of Monsieur Robert Darzac! It needed that Monsieur Robert Darzac himself should not deny this matrimonial rumour to give it an appearance of truth, so unlikely did it seem to be well founded. One day, however, Monsieur Stangerson, as he was leaving the Academy of Science, announced that the marriage of his daughter and Monsieur Robert Darzac would be celebrated in the privacy of the Chateau du Glandier, as soon as he and his daughter had put the finishing touches to their report summing up their